


The Widow's Mite

by dairesfanficrefuge_archivist



Category: Highlander: The Series
Language: English
Status: Completed
Published: 1997-11-04
Updated: 1997-12-31
Packaged: 2018-12-18 05:36:46
Rating: Not Rated
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 3
Words: 11,451
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11867826
Author URL: https://archiveofourown.org/users/dairesfanficrefuge_archivist/pseuds/dairesfanficrefuge_archivist
Summary: Note from Daire, the archivist: this story was originally archived atDaire's Fanfic Refuge. Deciding to give the stories a more long-term home, I began importing its works to the AO3 as an Open Doors-approved project in August 2017. I e-mailed all creators about the move and posted announcements, but may not have reached everyone. If you are (or know) this creator, please contact me using the e-mail address onDaire's Fanfic Refuge's collection profile.





	1. Part 1

**Author's Note:**

> Note from Daire, the archivist: this story was originally archived at [Daire's Fanfic Refuge](http://fanlore.org/wiki/Daire%27s_Fanfic_Refuge). Deciding to give the stories a more long-term home, I began importing its works to the AO3 as an Open Doors-approved project in August 2017. I e-mailed all creators about the move and posted announcements, but may not have reached everyone. If you are (or know) this creator, please contact me using the e-mail address on [Daire's Fanfic Refuge's collection profile](http://archiveofourown.org/collections/dairesfanficrefuge/profile).

The Widow's Mite by Whitehart

**Highlander: The Series**   
"The Widow's Mite"   
Written by M. H. White 

First Draft   
4 November, 1997   
Registered: WGAEast 12/97 

* * *

**TEASER**

FADE IN: 

EXT. A CHURCH AND ADJACENT STREETS- DAY 

A church steeple lies against the sky, quiet and serene. As the view moves downward, STREET NOISES filter in: CAR HORNS, TRAFFIC, GRITTY MUSIC. Pigeons flash by. The church is on a busy street. Its doors open just above the sidewalk, with stairs and brass handrails leading to the street. A changeable sign in front says "Parochial School Educator's Association, Regional Conference." 

The meeting is breaking up. People leave, saying good-byes. LYDIA, a petite woman who (for now) appears old and frail, comes to the door. She is tidy, dressed in drab, inexpensive, conservative clothing, and she carries materials from the conference. She absent-mindedly polishes the handrail with a handkerchief as she descends the stairs. 

Lydia SENSES THE PRESENCE of another immortal and nervously searches the street. She sees STALKER #1, a powerfully built man, across the street. He sees her and folds the newspaper he's been reading. Someone touches her arm from behind. She jumps, frightened. It is only someone handing her more papers. She accepts them with a wan smile of apology and turns away. She walks down the street away from Stalker #1. He follows her. 

DUNCAN comes out of a store, carrying a bag of groceries. He SENSES and then sees Stalker #1 following Lydia. He trails them both, curious, as they weave through the people on the street. 

Stalker #1 SENSES Duncan behind him, turns, makes eye contact, and disappears down a side street. Duncan sees Lydia walk on ahead, then cautiously goes after Stalker #1. 

The street looks empty until Stalker #1 attacks Duncan, who drops his groceries, spilling them everywhere. 

DUNCAN   
(drawing his sword)   
Now you've done it! 

They have a minor clash of swords, and Duncan easily injures his opponent's leg. They are interrupted by a crowd attracted to the sounds. Duncan hides his sword and melts into the crowd. He picks up a few pieces of fruit as he passes. 

On the mains street, he sees Lydia look back, then turn down another side street. He picks up his pace to catch her. 

It's a blind alley. She suddenly turns on Duncan, who stops in his tracks. His face is hidden by shadows. Lydia is obviously frightened, but still in control of herself. She clutches her papers like a shield. 

LYDIA   
Why are you following me? 

Duncan holds out his hands to show her he means no harm. One still holds an apple. 

DUNCAN   
I saw someone trailing you, and... 

LYDIA   
(interrupting)   
Your partner? 

DUNCAN   
He's not my partner. I just... 

LYDIA   
(interrupting)   
Who are you? 

DUNCAN   
(stepping out of the shadows)   
I am Duncan MacLeod, of... 

LYDIA   
...the clan MacLeod! Oh! Duncan! 

She runs the few steps to him, throwing open her arms and dropping the papers everywhere. She crashes into him, embracing him, turning them both 180 degrees. He is confused. He tries to see her face, but it is buried in his chest, the top of her gray head barely reaching his chin. 

DUNCAN   
Well, we both know me. Who are you? 

**END OF TEASER**

* * *

**ACT I**

EXT. STREET DAY (CONTINUED) 

Duncan and Lydia are in the same position. Stalker #1 limps to the mouth of the alley. Lydia releases her embrace and faces him, her back to Duncan. 

LYDIA   
Who sent you? Why do you follow me? 

Stalker #1 opens his coat to show his sword. He looks at the people on the street behind him, then back at Lydia and Duncan. 

LYDIA (CONT'D.)   
Do you know who I am? I am Lydia, Widow of Hartshorn. 

DUNCAN   
Lydia? 

LYDIA   
(to Stalker #1)   
Do you know what that means? 

TIGHT ON APPLE IN DUNCAN'S HAND 

DISSOLVE TO: 

INT. SCHOOLROOM, CIRCA 1650 DAY 

Apples sit on a windowsill in a small, rough chapel being used as a schoolroom. 

DUNCAN sits on a student bench which is too small for him. He is bored, cleaning his fingernails with his knife. Lydia, now appearing to be in her early thirties, stands at the lectern. She is attractive, but not beautiful, dressed in less drab, but still conservative, clothing of the day. She now speaks with a (more) pronounced high British accent. Duncan speaks in a Scottish brogue. 

LYDIA   
Young man, I asked if you know what that means. 

DUNCAN   
It means you're the woman Connor said I should see. You're to teach me about some special defense you have. 

LYDIA   
Yes, he wrote that you'd come. 

DUNCAN   
Connor can write? 

LYDIA   
You should respect your elders. 

DUNCAN   
So that's the Lore of the Game that I'm to learn from you?   
(standing)   
Good. I'll be away, then. 

LYDIA   
Don't be impudent, young man. 

DUNCAN   
Young? I'm almost 60 years old. 

LYDIA   
And I was teaching Latin before your grandmother was born. Sit down. 

He sits. Lydia begins pacing, lecturing. 

LYDIA (CONT'D.)   
Now, where shall I begin? Duncan, have you ever received the Quickening? 

DUNCAN   
Aye. 

DISSOLVE TO: 

ANY EARLY QUICKENING FOR DUNCAN 

As Duncan remembers the Quickening, Lydia and Duncan discuss the sensations involved. 

LYDIA (V.O.)   
Good. We'll begin there. First is a swirling of power all around you and a building of anticipation as it gathers for the transfer. 

DUNCAN (V.O.)   
Like waves just missing you. 

LYDIA (V.O.)   
Exactly. You feel the power. You desire it, but you also fear it. 

DUNCAN (V.O.)   
A wee bit. 

LYDIA (V.O.)   
Then the first of it strikes, and it is excruciatingly painful. 

DUNCAN (V.O.)   
Aye. 

LYDIA (V.O.)   
Right. Then you feel the quickening flow into you with an incredible sense of conquest. 

DUNCAN (V.O.)   
Like the tide in a battle turning at the last second. 

LYDIA (V.O.)   
Exactly. Then you take it all in, bits of memory, rushing emotions, everything. And through it all, there's the victory. The pleasure of the triumph overwhelms the pain. 

DISSOLVE TO: 

INT. SCHOOLROOM, CIRCA 1650 - DAY (CONTINUED) 

Duncan is interested now. Lydia moves around the room as she speaks, absent-mindedly straightening and cleaning. 

DUNCAN   
Aye, that's just what it's like. 

LYDIA   
Now that we're on the same page, I can explain part of the Lore to you. Remember, you're not the only person involved. 

DUNCAN   
You mean, uhh... 

He makes a motion like cutting his throat with his knife. 

LYDIA   
Yes. In that instant of pain, what you feel is his first death. 

DUNCAN   
You're living it over? 

LYDIA   
Perhaps. Or some kind of an echo. It's always different because death comes in different ways. How did you first die? 

DUNCAN   
In a great battle. 

LYDIA   
The Quickening from you might include a sense of righteous rage, or perhaps cold fury. For one struck down suddenly, it's more like surprise. 

DUNCAN   
So the victory... 

LYDIA   
Yes.... 

DUNCAN   
...is over Death. 

LYDIA   
Exactly. Defeating, this time, the ultimate enemy. 

DUNCAN   
What's that got to do with your defense? 

She stops moving. This personal part is hard for her to discuss. 

LYDIA   
The person who takes my head will have a very different experience. 

DUNCAN   
Why? 

LYDIA   
Because my first death was different. 

DUNCAN   
Death is death. How could it be so different? 

Lydia sits on the bench beside Duncan. 

LYDIA   
(painfully)   
My first death, like my second and third, was by my own hand. 

DUNCAN   
You mean you... 

She rests her hand on his arm. She needs something from him. 

LYDIA   
Committed suicide? Yes, Duncan. Death wasn't my enemy. I sought Death, I wooed it like a lover. And I was rejected. 

He stands, turns his back to her. He goes to the window and picks up an apple. 

DUNCAN   
(cutting the apple in half)   
That's no great victory. 

LYDIA   
You're an apt pupil, Duncan MacLeod. There will be no feeling of triumph, no victory over the archenemy, only the pain of rejection and a sense of loss which you cannot imagine. 

The inside of the apple is rotten. 

DUNCAN   
And that's your defense. 

LYDIA   
Yes. The Lore of the Game that protects me is this: the Quickening from one whose first death was a suicide will drive the victor hopelessly insane. 

He starts to toss the apple aside, but then turns the pieces over to look at the skin. They look perfect on the outside, just like the other apples. He faces Lydia. 

DUNCAN   
But that can only protect you if the rest of us know it. 

LYDIA   
You are a very apt pupil. 

DISSOLVE TO: 

EXT. STREET DAY (CONTINUED) 

Duncan throws the apple in the air. As Stalker #1 is distracted by it, Duncan draws his sword and moves in front of Lydia, protectively. He slices the apple as it falls back down. Stalker #1 steps back, intimidated, holding his injured leg. He lets them pass, then follows. Duncan shepherds Lydia out to his car, staying between her and Stalker #1. Stalker #1 gets into another car and chases them. 

INT. DUNCAN'S CAR DAY 

As they are being chased, Duncan drives, making evasive maneuvers. Lydia enjoys watching him. He doesn't notice. 

LYDIA   
He's still behind us. 

DUNCAN   
Not for long. 

He finally loses Stalker #1. 

LYDIA   
Duncan! You're a sight for sore eyes. 

DUNCAN   
I wish I could say the same. At the risk of being impudent, you've aged a million years! 

LYDIA   
(pulls off a gray wig)   
I've still got my girlish figure, though. 

DUNCAN   
Why the disguise? 

LYDIA   
(removing make-up with handkerchief)   
The nuns at the convent would notice if I didn't age. 

DUNCAN   
You went back to your order? Do I call you "Sister" now? 

LYDIA   
No, I've been a Protestant since the Reformation, but I teach in a convent school. 

DUNCAN   
You mean old habits die hard? 

Lydia groans, then laughs. 

ESTABLISHING SHOT DUNCAN'S HOME DAY 

INT. DUNCAN'S HOME DAY 

Duncan sits in his kitchen area with a hot drink. He stands respectfully as Lydia enters the room. She has showered and taken off her "old" disguise. She wears Duncan's robe and dries her hair with a towel. 

LYDIA   
It's amazing how many years a nice hot shower can take off of you. 

Duncan pours her a cup, then finishes preparing a meager meal as he speaks. 

DUNCAN   
I can't offer you much. Someone interrupted my shopping. 

LYDIA   
"Better a dry morsel with peace than feasting with strife." 

DUNCAN   
Proverbs, right? 

LYDIA   
Very good. Besides, everything you make is delicious. 

She tastes from the pot. She likes it. 

DUNCAN   
Everything? 

LYDIA   
Almost everything. 

DUNCAN   
Why don't you ever cook for me? 

LYDIA   
I never use deadly weapons on other people. 

DUNCAN   
(filling two plates)   
So, who was that in the alley? 

LYDIA   
I don't know. At first, I thought you were one of them. 

DUNCAN   
Them? How many? 

LYDIA   
It started with just one. Old and powerful, by the feel of it. I never got a good look at him. 

He gives her a plate. She takes it, touching his hand just an instant too long. 

DUNCAN   
Why didn't you call me? 

She turns away to sit down. As they talk, he gets his own plate and joins her. 

LYDIA   
"In God I put my trust; I will not be afraid. What can mortal man do to me?" 

DUNCAN   
It's the immortal ones you have to worry about. 

LYDIA   
Immortal? If "There can be only One," all the rest of us are definitely mortal. 

DUNCAN   
Not if we keep our heads. 

She bows her head in silent prayer, while Duncan waits quietly. They both begin to eat, but she mostly just picks at her food. She occasionally straightens things on the table. 

LYDIA   
Besides, I wasn't sure where you were. And it's happened before, but they usually go away in a week or so. 

DUNCAN   
When they find out who you are? 

LYDIA   
Or decide I'm not worth the risk. 

DUNCAN   
This one didn't go away? 

LYDIA   
No. 

DUNCAN   
Does he know you? 

LYDIA   
Why else would he keep his distance? 

DUNCAN   
I don't know. There were others? 

LYDIA   
Two more. I think he sent them. Being followed to this conference unsettled me. 

DUNCAN   
I noticed. Describe them. 

LYDIA   
Large, physically strong men .... One wore leather with chains. You saw the other one. Both seem new, young. 

DUNCAN   
Not very good with a sword yet. They haven't talked to you? 

LYDIA   
No. 

DUNCAN   
Followed you onto holy ground? 

LYDIA   
Never. 

DUNCAN   
They know at least that much. Why would anyone send someone else to kill you? What would he get out of it? 

LYDIA   
An insane companion with my phenomenal skills at needlepoint? 

DUNCAN   
(laughing)   
And at getting exactly what you want? 

Duncan stands and turns to put his plate away. Lydia watches him appreciatively. 

LYDIA   
I don't always get what I want... 

As Duncan turns back toward her, she looks quickly at her cup, then back at him casually. 

LYDIA (CONT'D.)   
...but do I get what...   
(pointing up)   
...He wants, which is even better. 

He picks up his keys, coat, etc. 

DUNCAN   
I'll find out what I can and get your things from the motel. You should be safe here for a while. 

As they speak, she gives him her motel key, and he picks up a second sword. 

LYDIA   
I used to be safe anywhere. 

DUNCAN   
We can't assume that anymore. You may need this. 

He holds the sword out to her, but she doesn't touch it. 

LYDIA   
You know I never use a sword. 

DUNCAN   
(gently)   
You did once. 

She rubs the spot over her heart, as if she can still feel pain there. 

LYDIA   
And I wasn't any good with it, even then. 

DUNCAN   
That's something to be thankful for. 

He puts the sword on the table and begins to leave, then thinks of something and turns back. 

DUNCAN (CONT'D.)   
It's useless to ask you not to clean while I'm gone, isn't it? 

LYDIA   
Completely. 

Duncan accepts her answer with resignation and exits. 

ESTABLISHING SHOT JOE'S BAR DAY 

INT. JOE'S BAR DAY 

The business is closed. Duncan sits at the end of the bar. JOE DAWSON attaches a laptop modem connection and sits beside Duncan. He looks at the files on the laptop. A picture of Lydia as an old woman is on the screen. Joe pours them each some coffee. He picks up his cup, using the other hand to hit keys. 

JOE   
Your friend Lydia has a strange record. For a while we weren't even sure she was immortal. She doesn't carry a sword, she stays at home, and other Immortals leave her alone. 

DUNCAN   
I should be so lucky. 

JOE   
She's the easiest assignment a Watcher can get. 

DUNCAN   
She wouldn't like that. 

JOE   
Why not? 

DUNCAN   
How many nuns do you know who teach Latin and like easy assignments? 

Joe puts down his cup, surprised. 

JOE   
She's a nun? 

DUNCAN   
Yeah, or rather, she was. 

He searches her file. 

JOE   
There's nothing in here about it. Convent schools...missionary trips... charities. It adds up, but we never made the connection. 

Joe begins to type in the new information. 

DUNCAN   
She left her order during the Reformation... 

JOE   
(to himself, as he types)   
Reformation...early fifteen hundreds. 

DUNCAN   
...but she still keeps some of her vows. 

JOE   
Which ones? 

DUNCAN   
Poverty...chastity. 

Joe suddenly stops typing. 

JOE   
Chastity? As in celibacy? 

DUNCAN   
When you're not married, yeah. 

JOE   
For hundreds of years, she hasn't... 

Duncan shrugs his shoulders, uncomfortable with this line of thought. 

JOE (CONT'D.)   
And I thought I'd hit a dry spell. They say if you don't use it, you lose it. Maybe.... 

Duncan shakes his head. 

DUNCAN   
That doesn't really apply, Joe. You know we never lose...anything. 

JOE   
Maybe she was always, you know... 

DUNCAN   
(interrupting)   
Can we get back to the subject here? 

JOE   
Which is? 

DUNCAN   
Her Watcher may find life suddenly exciting. 

JOE   
She doesn't have one here. What's happening? 

DUNCAN   
I have an idea, but I don't want to frighten Lydia. 

INT. DUNCAN'S HOME DAY 

Lydia cleans house, wearing her black tights and Duncan's shirt, a black one that fits her like a big tunic. She kneels down to dust some items on a low shelf behind some furniture and is hidden from view of the door. She picks up a small box and dusts under it, then she SENSES THE PRESENCE of a powerful immortal and hears the DOOR OPEN. Lydia freezes in place, silently mouths the name "Duncan?" then shakes her head, no. This feels different. 

A masculine hand picks up the sword Duncan had left on the table. His face hidden from the camera, the man looks around the room. 

Lydia clutches the box and mouths a silent prayer. 

INT. JOE'S BAR DAY (CONTINUED) 

JOE   
What do you think is happening? 

DUNCAN   
This doesn't go in your files and you tell no one, mortal or immortal. 

JOE   
(closing the laptop)   
Scout's honor. No one. 

DUNCAN   
The Quickening from a suicide may drive you insane, but will that carry through to the next Quickening? 

JOE   
I don't know. You guys don't seem prone to suicide. 

Duncan looks incredulous. 

JOE (CONT'D.)   
Well, OK. It comes in handy after you know it won't kill you permanently. 

DUNCAN   
Some make it permanent, usually by attacking a stronger swordsman. 

JOE   
What I mean is, Lydia's the only first-death suicide we have on record. The rest are only rumors. Why do you ask about the insanity carrying over? 

DUNCAN   
These new Immortals may be in as much danger as Lydia. 

Joe thinks about this, and picks up Duncan's train of thought. 

JOE   
So our Mr. X sends someone who doesn't know better to do it for him, and then he takes the kid's head? 

DUNCAN   
Almost. He's got to be certain that it doesn't carry over. That may explain why there are two younger ones. 

JOE   
So one kills Lydia and goes insane.... 

DUNCAN   
Then Mr. X has the other one kill the first, just to make sure it's safe.... 

JOE   
And then Mr. X takes his head. 

DUNCAN   
And the accumulated power. 

INT. DUNCAN'S HOME DAY 

Lydia takes a deep breath, and stands to face the man. 

He hears the movement and spins to face her. His face is hidden again. She still holds the box, half wrapped in the dust cloth. Lydia is afraid. He swings the sword. 

** END OF ACT I  **

* * *

ACT II 

INT. DUNCAN'S HOME DAY (Continued) 

Lydia and the Immortal are in the same positions as before. He stops the sword just at her neck. 

LYDIA   
Before you do this, you should know what it would cost you. 

The camera angle changes so that the Immortal's face can be seen. It is METHOS. 

METHOS   
It would cost you a lot more. 

LYDIA   
Not necessarily. Do you know who I am? 

METHOS   
I'm frightfully sure you're going to tell me. 

LYDIA   
I'm Lydia, the Widow of Hartshorn. 

Methos steps back to look at her. He holds the sword at ready. 

METHOS   
Funny, you don't look like either of the two "Mad Widows of Hartshorn" I've seen. 

LYDIA   
What?! 

METHOS   
One decided to be a black widow and cut my throat in my sleep. You look too young to be the other. Now, put that box back where you found it. 

LYDIA   
When I finish dusting. 

METHOS   
Or dusting off fingerprints? 

LYDIA   
Oh! You thought I was stealing it? 

METHOS   
I've seen a great deal of theft, and this looks very much like it. MacLeod is rather fond of that, so you'll have to leave it. 

She relaxes a little, and sets down the box. Methos notices the supplies for cleaning house around her, but does not quite let down his guard. 

LYDIA   
So, you're a friend of Duncan's? 

METHOS   
Most of the time. 

LYDIA   
You're not the one who's been following me. Who are you? 

METHOS   
They call me Adam. 

LYDIA   
But that's not your name? 

METHOS   
It is for now. 

LYDIA   
"Adam."   
(assesses him)   
You're closer to it than anyone I've met. 

METHOS   
Yes, they tell me I "feel" old. 

LYDIA   
So, "Adam," do you always let yourself into friends' homes without knocking? 

METHOS   
I prefer not to wait outside. I only dropped in to tell Mac someone's in town. 

LYDIA   
Friend or foe? 

METHOS   
Why do you care? 

LYDIA   
It may be the same man who's been stalking me. 

METHOS   
Now, why would anyone stalk the Mad Widow of Hartshorn? Anyone who wanted to stay in his right mind, that is... 

He has a sudden realization that surprises him. As they speak, he looks at her closely, as if for the first time, walking as far around her as he can, even measuring her height with his hand. 

LYDIA   
Stop calling me "mad," or I'll make you take my head and you'll see what it feels like. 

METHOS   
(to himself)   
But if he was insane already...   
(to Lydia)   
Have you recently looked ...older? 

She is confused, but points to the gray wig lying on her folded clothing. He makes a firm, silent decision and puts away the sword (but still keeps it out of her reach). 

METHOS (CONT'D.)   
Lydia of Hartshorn, I believe I know who's stalking you. 

LYDIA   
How could you possibly know? 

METHOS   
(offering her a seat)   
That's a very long story. 

LYDIA   
Just how long? 

METHOS   
About five thousand years... 

INT. JOE'S BAR DAY (CONTINUED) 

JOE   
But I still don't understand why anybody would be after the head of The Mad Widow of Hartshorn. 

DUNCAN   
Don't say "mad" to her. She gets touchy about her title. 

JOE   
I mean, that's a lot of trouble for one person who doesn't have all that much power. 

DUNCAN   
She doesn't seem to, but she's got power. 

JOE   
Where would she get it? 

DUNCAN   
It varies from the start, ... and some from age... 

JOE   
But she hasn't exactly been hacking off heads left and right. 

DUNCAN   
Like someone you know? 

JOE   
You know what I mean. As far as we know, she's never taken a single head... 

DUNCAN   
That's technically true, but... 

DISSOLVE TO: 

EXT. DUNGEON, FRENCH REVOLUTION NIGHT 

A guillotine with a special release for the blade stands ready. A FRENCH NOBLEMAN inspects the mechanism. Duncan narrates as the story unfolds. 

DUNCAN (CONT'D. IN V.O.)   
...during the French Revolution, an old Immortal had lost his wife to the guillotine. He was mad with grief. When he met Lydia, his plans all fell into place. 

Lydia enters, and they SENSE EACH OTHER. She runs to him, begging and pleading. 

DUNCAN (CONT'D. IN V.O.)   
Lydia tried for days to talk him out of it, but he was determined. 

Lydia is unsuccessfully struggling with the Nobleman, trying to get him away from the machine. He drags her aside and shackles one of her wrists to the wall, then continues his work. The release mechanism is just out of her reach. 

Duncan enters. She SENSES and sees Duncan and pleads with him for help. The Nobleman ignores him. Duncan begins to move forward. 

DUNCAN (CONT'D. IN V.O.)   
I saw him put his own head into a guillotine. 

TIGHT ON THE RELEASE AND THEIR HANDS 

The Nobleman's hand triggers the release, while Lydia's just reaches his, trying to tug it away. 

DUNCAN (CONT'D. IN V.O.)   
Lydia was clutching at his hand to stop him when he pulled the release. 

We hear the BLADE FALL. The man's hand goes limp. LIGHTNING runs along the top of the blade. Duncan turns away. 

DISSOLVE TO: 

INT. JOE'S BAR NIGHT 

DUNCAN (CONT'D)   
She got the Quickening, just as he'd planned. 

JOE   
Why? 

Duncan gestures toward the laptop. 

DUNCAN   
You of all people should know. 

Why do art dealers will their collections to museums? Why does a miser leave all his money to one foundation? They can't stand to think of their treasures divided. 

Joe still doesn't quite get it. 

DUNCAN (CONT'D.)   
If no other Immortal had been there, his greatest treasure would have been wasted. 

JOE   
The Quickening. 

Duncan nods affirmation. 

JOE (CONT'D.)   
So she hasn't taken a head, but she's had one given to her? 

DUNCAN   
At least one. 

JOE   
No wonder Immortals avoid her. But, why don't you feel much power in her? 

DUNCAN   
That, I can't explain. 

INT. DUNCAN'S HOME DAY (CONTINUED) 

LYDIA   
This is horrible. 

METHOS   
So you know the man? 

LYDIA   
I've heard Duncan and Connor speak of him. Connor never trusted him. Are you sure he's the one behind this? 

METHOS   
What I know fits. He came here just after the young ones found you, and he's already insane. Since he and Mac crossed swords, he's wandered around, assaulting the strongest Immortals he finds. He can't seem to lose. 

LYDIA   
Could he best Duncan? 

Methos shrugs. 

LYDIA (CONT'D)   
Then, whatever else happens, we've got to keep them apart. 

METHOS   
We aren't certain what he wants with you. 

LYDIA   
(sadly)   
I know what he wants, and I'll do everything short of taking up a sword to prevent it. 

METHOS   
(picking up the phone)   
If we keep MacLeod out of it, you can do what you want. 

INT. JOE'S BAR DAY 

DUNCAN   
(preparing to leave)   
Find out what you can about these stalkers. 

JOE   
We may not even have them under surveillance yet. 

DUNCAN   
Do what you can. 

Joe's CELL PHONE RINGS. Duncan heads for the door. Joe answers it as Duncan is leaving. 

JOE   
Hello.... Yeah, he's.... Hey, Mac!... 

Duncan turns around at the door, but Joe is listening to the phone. 

JOE (CONT'D.)   
(to the caller)   
Yeah, OK....Uhh....Hold on.   
(to Duncan)   
I'll call you when I've got something. 

Duncan nods, a little curious about this last exchange. Joe turns away as he continues his conversation on the phone. Duncan exits. 

EXT. CITY SKYLINE (STOCK) SUNSET 

INT. DUNCAN'S HOME EVENING 

While Lydia cleans, Methos talks on the telephone, making notes in a small notebook. The phone book is open to car rental agencies. 

METHOS   
(into the phone)   
No.... No limousine this time, just the car I described.... Follow my instructions exactly....Right. 

He hangs up the telephone and makes more notes. 

LYDIA   
(stops cleaning)   
You must know, if anyone does. Would my Quickening really drive someone insane? 

METHOS   
(still writing)   
It seemed to in one other case, before the Watchers were around, but that may have been a coincidence. 

LYDIA   
Let's not mention that to any others of our kind, shall we? 

METHOS   
(looking up)   
The Lore about you will remain a fact as long as the Lore about me remains a legend. 

LYDIA   
Agreed. 

EXT. MOTEL NIGHT 

Duncan drives into the parking lot. The motel is run-down and a little dirty. A flashing sign says "_OTEL." A painted sign says "Under New Management." The Slavic MOTEL OWNER is working on some minor repair and doing a very bad job of it. His pregnant WIFE scolds him, and TWO SMALL CHILDREN cling to her skirts. 

DUNCAN   
She's serious about her poverty. 

Duncan finds Lydia's room. The area around her door is noticeably cleaner than the rest. He goes into the room and comes back out to his car with two small mismatched suitcases. He goes back inside. 

INT. LYDIA'S MOTEL ROOM NIGHT. 

The room is poorly lit. The "_OTEL" sign flashes through the sheers in the front window. Duncan searches the room, then the bathroom, where he finds a make-up case with another gray wig. He carries them to the front door and has his hand on the knob when he SENSES ANOTHER IMMORTAL. The flashing light in the window shows the silhouette of Stalker #1. Duncan quietly turns the dead-bolt lock and steps back from the door. The door knob moves, someone trying it from the outside. It stops. 

* * *

Next   
Back to the Refuge 

© 1997-2000   
Please send comments to the author! 

* * *


	2. Part 2

The Widow's Mite by Whitehart cont'd

**"The Widow's Mite" continued**

* * *

Suddenly, Stalker #1 leaps through the front window, smashing the glass, getting tangled in the curtains. He spins and struggles to get his sword free, but steps in a wastebasket in the process. The sword, swinging wildly over his head, slices through the fire sprinkler, and water begins to spray everywhere. 

When he gets free of the curtains, he sees a figure with gray hair that seems to be cowering under the covers. He lunges for the figure, grabbing it fiercely, but it is only the wig and some pillows. The pillows burst and shredded foam flies up into the falling water. 

Duncan watches from behind the bathroom door. 

The motel owner comes to the shattered window, shouting in Russian. Stalker #1 leaps back out of the window, pushing him down. Duncan chases Stalker #1 to the window, but has to stop suddenly under the raining sprinkler, as the wife and children block his way. 

Seeing the mess, the wife begins to cry. The husband gets up and shouts at Duncan. Under the pouring water, Duncan throws up his hands in frustration as the stalker gets away. He pulls a roll of bills out of his pocket and reaches through the window to give them a very generous amount, explaining in Russian that it should cover the damages and Lydia's bill. The wife clutches the soggy money and begins to cry with happiness. The husband shakes Duncan's hand vigorously, while Duncan looks unhappy. The family moves away. The water stops. 

Duncan gives up and flops back onto the bed, where he is all but engulfed by the shredded foam. There is a loud CLANK, and the pouring water begins again, along with the wife's scolding. 

INT. DUNCAN'S HOME NIGHT 

Lydia mends Duncan's clothes. Methos searches the phone book. Duncan enters. He is soaking wet, and bits of foam cling to him. He carries Lydia's bags. When Duncan sees Methos, he stops and drops the luggage. Water puddles on the floor under him. Lydia jumps up to help Duncan with his wet coat. 

METHOS   
Well, look what the catfish dragged in.   
(flipping pages)   
Isn't there a decent Portuguese restaurant in this town? 

DUNCAN   
What are you doing here? Lydia, do you know Adam? 

LYDIA   
Actually, Methos and I just met. What happened to... 

DUNCAN   
(interrupting)   
Methos? You just met, and he told you.... 

METHOS   
You told me to trust people more. 

DUNCAN   
This wasn't exactly what I meant. 

METHOS   
You're not calling Lady Hartshorn untrustworthy, are you? 

DUNCAN   
I'd trust her over you any day. 

LYDIA   
Thank you. 

METHOS   
Good. 

LYDIA   
You should change clothes. What happened? 

As they speak Duncan strips to the waist where he stands, handing the wet clothes to Lydia. Methos notices that Lydia tries very hard not to watch Duncan. 

DUNCAN   
Your new friend dropped in at your motel. He would have loved to see you, but he had to run. 

METHOS   
Did you learn anything? 

DUNCAN   
Just a few new Russian curses. 

He drops his wet shoes in the puddle on the floor and walks toward the bathroom. 

DUNCAN (CONT'D.)   
Dawson is checking on some leads. 

Lydia throws Methos a guilty glance behind Duncan's back. Methos shows no reaction. 

DUNCAN (CONT'D.)   
I got nowhere checking on the car. I'll start out again tomorrow. 

LYDIA   
You can do that while Methos accompanies me to church. 

DUNCAN   
(turning back)   
Oh, no... 

METHOS   
(standing to join them)   
You didn't say anything about church. 

LYDIA   
It's the Sabbath; we'll be on holy ground...   
(to Methos)   
and you agreed to act as my champion. 

Duncan is surprised and his pride is hurt. For a second he's speechless. 

METHOS   
It's all the unholy ground between here and there I want to avoid. 

DUNCAN   
You asked him to be your champion!? 

LYDIA   
Yes, Duncan. You've done so much for me already; I couldn't ask for more. Besides, all I need is a baby-sitter until they give up like all the rest. They wouldn't attack Methos. 

Duncan stares at Methos, who keeps a perfect poker face, then at Lydia, whose poker face isn't quite as good. 

DUNCAN   
There's more to it than that, isn't there? 

METHOS   
No. 

LYDIA   
Yes. 

LYDIA (CONT'D)   
There is something more, but it's personal. I'm asking you, as a favor, not to interfere. 

DUNCAN   
That's all you'll say? 

LYDIA   
It's about judgment, Duncan. 

DUNCAN   
You question my judgment? 

LYDIA   
No, mine. "As you judge, so shall you be judged." I already misjudged both of you today, and I have no reason to think these others will hurt me either. 

DUNCAN   
Well, I have damn good reason! 

LYDIA   
I've over-reacted to the whole situation. 

DUNCAN   
Didn't you hear me? Have you gone completely .... I mean....   
(to Methos)   
You never trust anyone. Talk to her... 

METHOS   
She's probably right. 

DUNCAN   
Being her champion isn't one of your games. 

METHOS   
Chivalry isn't my strong suit, but I know the job I've taken on. 

The two men square off. 

DUNCAN   
Lydia's life is at stake here. 

METHOS   
I know what's at stake. 

DUNCAN   
Do you!? 

METHOS   
Yes! Do you? 

DUNCAN   
Yes. 

Methos and Duncan are glaring at each other like growling dogs, when Lydia literally comes between them. Although they tower over her, she takes charge in her most commanding teacher voice. 

LYDIA   
Boys! Stop it. 

DUNCAN   
Boys? 

METHOS   
Boys? 

LYDIA   
Yes, boys. You're worse than teenagers in a school yard. You just carry bigger knives. 

Duncan, as much as I value your friendship, protecting my life is no longer your concern. Now, go clean up. 

And you, Methos,   
(points to the door)   
select a church where you will take me tomorrow. 

Methos bolts for the door. 

METHOS   
Finally, recess! 

DUNCAN   
(walking away)   
If anyone cuts off your head in the next ten minutes, try not to over-react. I'll be in the shower. 

** END OF ACT II  **

* * *

ACT III 

INT. JOE'S BAR NIGHT 

The bar is open. Methos and Joe are at the end of the bar, essentially alone. Another bartender serves customers at the other end. Methos makes a note in his notebook from Joe's laptop. Joe slices lemons. Methos closes Joe's laptop and slides it across the bar. Joe wipes his hands on a bar towel and accepts the computer. 

METHOS   
Thanks. You should change those access codes. 

Methos stands and gulps down the last of his drink, as though to leave. Joe opens the laptop and fires it up again. 

JOE   
(punching keys)   
Sure. Did you find what you needed about Lydia's ...friends? 

METHOS   
Yes.   
(under his breath)   
But you won't. 

JOE   
What the hell is this!? 

Several people turn to stare, including the other bartender. Joe waves them away. The laptop screen flashes "ACCESS DENIED." Methos is caught. He slumps back onto his barstool. 

METHOS   
That's to make sure what I know doesn't get back to the Highlander before I'm ready. 

JOE   
(madly typing)   
What kind of virus is this? It'll take ages to clear out this mess. 

METHOS   
It's more like a slight bacterial infection, and I'll give you the cure within twenty-four hours if Mac doesn't find out about this. 

Joe continues to try to access his files. 

JOE   
Oh! thanks a lot, Doc! You scheming son of a.... 

METHOS   
(interrupting)   
What, Joe? Son of a what? 

Methos pours a little more in his own glass and leans forward, conspiratorially. 

METHOS (CONT'D)   
Don't you lie awake nights, wondering? I know I do. 

Joe momentarily gives up on the computer. 

JOE   
You're not changing the subject that easily. So, I'm supposed to just lie to MacLeod, take two aspirin and call you in the morning? 

METHOS   
Make it four aspirin, and call me in the after-noon....Look, I'm not asking you to lie to him. 

JOE   
What do you call it? 

METHOS   
OK. Lie to him. Tell him you know all about these...new kids. 

JOE   
Thanks to you, I don't. 

METHOS   
See? No lie involved. 

JOE   
Aren't you forgetting the "sneaker net"? I'll have somebody walk to the file room and send me the paper copies. 

METHOS   
Even if you knew which files to pull, it would all be over by the time you got them. 

He waits as the bartender comes to get some lemons, then leaves. He continues more quietly. 

JOE   
Do you want to get Lydia killed? 

METHOS   
No. This guy knows her. He wouldn't get anything out of killing her. 

JOE   
Mac thinks he might. 

METHOS   
How? 

JOE   
I can't tell you. I promised Mac. 

METHOS   
Imagine that! He doesn't trust me. Listen, this Immortal fought with MacLeod before. Mac would be in more danger meeting him than Lydia. 

JOE   
Are you willing to bet her life on it? 

METHOS   
She is. To protect Mac. 

JOE   
And you're going to let her do it? 

METHOS   
She's only six and a half centuries old, but I think she's big enough to make her own decisions. You're not supposed to interfere, remember? 

JOE   
Don't you lecture me on Watcher rules. 

METHOS   
I'll be with Lydia myself. If I thought anyone would lose a head, would I be anywhere in the vicinity? 

JOE   
(almost convinced)   
Listen, if I don't tell Mac, you spend another year working like a dog for the Watchers. 

METHOS   
I've been sold for less. 

JOE   
What am I saying? Do you know what MacLeod will do to me if he finds out? 

METHOS   
And what do you think he'll do to me? 

JOE   
You think it could be worse? 

METHOS   
He can only kill you once. 

Joe points at the computer and holds the lemon knife like a weapon. 

JOE   
Right now, I could kill you myself. 

METHOS   
(showing the hilt of his sword)   
Uh-uh. Mine's bigger, and I've had five thousand years of training. 

Besides, without me, you'd never get that data base back on-line. 

INT. DUNCAN'S HOME NIGHT 

It's late. A clock ticks as Duncan sits looking at a city map. Methos plunders the refrigerator with no success. Lydia sweeps, picking up Duncan's feet to sweep under them. They are all jumpy. 

DUNCAN   
(irritated)   
Lydia, this place was clean before you started. 

LYDIA   
I'm sorry. I've got to do something while we wait. 

DUNCAN   
Doesn't the good sister have any homework? 

METHOS   
Let's play a game. 

DUNCAN   
I don't like your games. 

LYDIA   
That sounds good. 

DUNCAN   
(to Lydia)   
Would you stop cleaning? 

LYDIA   
Yes. 

DUNCAN   
I'll play. 

The three sit at a table. Money of various kinds, from several countries and centuries is on the table in front of the men. A very old hat is in the center, and Methos gives slips of paper and pens to each. 

METHOS   
The game is called "Superlatives." We put categories into the hat, then draw them out one by one. Wager on how sure you are that you have the best answer. The rest, we'll make up as we go along. 

LYDIA   
I don't have money. 

METHOS   
I'll loan you some. What's the conversion to Lira these days? 

DUNCAN   
(scratching notes on paper)   
I'm still working out the collector's value of Confederate scrip. 

LYDIA   
(laughing)   
Just give me some paper and let's get on with it. 

Methos haphazardly throws her a wad of cash. 

The pattern for all the following rounds is that they ante up a small amount. One draws a slip from the hat and reads it. They all add some money to the pot. Winner takes the pot. 

DUNCAN   
Everybody in?   
(reads)   
"Your worst job."   
(throws money in)   
Oh, I've got this one. 

METHOS   
(adding his wager)   
Wanna bet? 

LYDIA   
(adding a wager)   
That is the idea....I'll start. Scullery maid. 

DUNCAN   
Bad, but not the worst. I was shanghaied onto a pirate ship, and the whole crew had scurvy... 

METHOS   
I was sold as a slave in Rome, where I worked in a vomitorium. 

LYDIA   
We have a winner! 

METHOS   
(raking in the pot)   
This is the only good that ever came of it.   
(reading)   
"Most Ironic Situation." 

DUNCAN   
I was slashed with a saber once, and five old musket balls fell out of the wound. 

LYDIA   
I buy make-up to help me look worse. 

METHOS   
I spent years as a junior researcher under total buffoons to become the leading authority on.... myself. 

Methos wins. 

LYDIA   
(reads)   
"Favorite modern invention." ... Everybody in? Dishwashers. 

DUNCAN   
What? 

METHOS   
Dishwashers? 

LYDIA   
If you'd ever been a scullery maid, you'd vote for dishwashers. 

METHOS   
Maybe indoor plumbing....But that was before your time. 

DUNCAN   
No contest. The airplane.   
(to Methos)   
Top that, old man. 

METHOS   
In my lifetime?...Hmm....Fire. 

Duncan and Lydia stare at him, for just one second, thinking "maybe?...no!" 

METHOS (CONT'D.)   
Just joking. Paper.... OK, the Highlander wins. 

DUNCAN   
"Best Job." 

LYDIA   
Lady of the House of Hartshorn. 

DUNCAN   
Leading the Clans in battle. 

METHOS   
Ambassador to the Emperor of China from Magranon. 

DUNCAN   
What is, or was, Magranon? 

METHOS   
A small nation located entirely in my imagination. 

Methos wins. 

METHOS (CONT'D.)   
"Worst food you've eaten." 

DUNCAN   
I told you I was on a pirate ship. How do you think you get scurvy? 

METHOS   
Mine had quail, spinach, almonds, and a delicate cream sauce. 

DUNCAN   
Sounds good to me. 

METHOS   
It would have been if it hadn't been laced with strychnine. 

LYDIA   
Oh! But I've had worse - Duncan's haggis. 

DUNCAN   
I make the best haggis! 

Methos moves Duncan's hand aside to push all of the money to Lydia. 

METHOS   
It's still haggis. 

Duncan has run out of money. He reaches over to a table behind him and picks up the box Lydia had been holding before. Lydia and Methos exchange glances. Duncan opens the box, which is full of coins, and dumps the content on the table in front of him. Methos whistles appreciation of their value and examines them. 

DUNCAN   
Home field advantage. 

METHOS   
(pointing to a coin)   
That one's mine. 

LYDIA   
How can you tell? 

METHOS   
My picture's on it. 

Duncan waves Methos' hand away, and Methos shows them his profile. 

METHOS (CONT'D.)   
Never mind. I'll win it, too. 

LYDIA   
(reads a slip)   
Not this round. It says "Most recent acquisition of a head." 

Lydia and Methos throw money at Duncan without saying a word. 

Money goes back and forth. For the last question, Methos has the most, then Duncan, and Lydia has very little (which is neatly stacked). Methos smiles slyly as he reads the last question. He leans forward expectantly, propping his elbows on the table. 

METHOS   
"Your best lover." 

Duncan takes a backhand swipe at Methos' nearest arm, knocking it out from under him. Methos looks surprised and begins to protest. 

DUNCAN   
There's a lady present! 

LYDIA   
Duncan, I asked this one, and I am going to win it. 

Duncan is stunned. Methos looks at his big pile of money, and assesses Lydia. 

METHOS   
No, I am. I'll bet it all against whatever you have. 

He pushes all his money to the center. Lydia smiles sweetly and does likewise. 

DUNCAN   
(to Lydia)   
What are you up to? 

LYDIA   
(feigning innocence)   
My life is an open book. 

METHOS   
Are you in or not, Mac? 

DUNCAN   
I'm in. Ladies first? 

LYDIA   
Sir Allan of Hartshorn, my husband. 

DUNCAN   
It was an arranged marriage! 

LYDIA   
But it was love at first sight. We shared such a passion that, for me, there has never been another since his death - six hundred and twenty-seven years ago, this April. 

Methos begins to push her all the money. 

DUNCAN   
Don't let her get away with that! She took a vow of chastity! 

LYDIA   
I take my vows seriously, Duncan, but didn't you ever wonder why I was so willing to make them in the first place? 

They both push all the money to her. 

METHOS   
I thought there was a vow of poverty, too. 

LYDIA   
Yes, "To those who have much, even more will be given..." 

She gives some money back to each of the men. Methos gets "his" coin. As she speaks, she bundles the rest in a handkerchief. 

LYDIA (CONT'D.)   
"... but from him who has little, what he has will be taken away."  
(weighing it in her hand)   
The remainder will go to a worthy charity. 

METHOS   
(looking at "his" coin)   
I hope it's a home for old Immortals. 

LATER 

It's very late. The lights are dim. Two figures sleep in Duncan's bed, a wall of pillows between them. Duncan is on one side, his arm hanging off the bed, that hand resting on his sword. He is startled awake by a cry. 

LYDIA (O.S.)   
(half moaning, half shouting)   
No! Let me be! 

In an instant, Duncan sits up, drawing his sword, bleary-eyed. A flash on the other side of the bed catches his attention. He turns to see a sword raised there. The swords clash before he realizes it is an equally bleary-eyed Methos, who had been sleeping there. They both shake their heads to clear them. Both are appalled. 

DUNCAN   
That's a hell of a sight at four a.m.! 

METHOS   
I may never sleep again! 

DUNCAN   
What are you doing here? 

DUNCAN   
Lydia! 

METHOS   
Lydia! 

They both jump up. 

LYDIA (O.S)   
I'm fine. It's OK. I'm sorry. 

She is lying under covers on the couch. She sits up, rubbing the spot over her heart. 

LYDIA (CONT'D)   
I'm sorry. I had a nightmare. 

Duncan moves to her side and sits on the floor. Methos goes to the kitchen. 

DUNCAN   
No. Waking up next to him is a nightmare. 

METHOS   
(getting out some milk)   
You're no Lucretia Borgia yourself. 

DUNCAN   
(to Lydia)   
I wish you'd taken my bed. 

LYDIA   
(looking away)   
I couldn't sleep there. 

Methos joins them. 

METHOS   
So now none of us are asleep. 

He takes a swig out of the bottle of milk and offers it to them. They are both slightly disgusted. 

METHOS (CONT'D)   
Oh, you can't catch anything! 

Lydia considers this and then accepts the bottle. She takes a drink. 

DUNCAN   
Do you want to talk about it? 

LYDIA   
I was dreaming about the night I lost Allen, the night I lost everything. 

* * *

Next   
Previous 

© 1997-2000   
Please send comments to the author! 

* * *


	3. Part 3

The Widow's Mite by Whitehart cont'd

**"The Widow's Mite" continued**

* * *

DISSOLVE TO: 

INT. A MEDIEVAL CASTLE, 1371 NIGHT 

The story is played out as Lydia narrates it. 

A man's right hand holds a woman's left over a white cloth background. They extend from the cuffs of fine clothes, and both bear jeweled rings. His includes a signet, and hers includes a wedding ring. The view widens to show they belong to Lydia and ALLAN, her handsome husband, at a feast. She wears bright, beautiful clothes. 

LYDIA (V.O.)   
My adopted father arranged our marriage for his own political purposes, but Allan and I were very happy. 

He whispers in her ear and she laughs. Someone reaches around them to deliver a tray of food. 

LYDIA (CONT'D IN V.O.)   
Even when it was clear we would never have an heir, Allan refused to annul our marriage. 

The view expands to show the head table at a great feast. MUSIC plays. People laugh, eating and drinking. LYDIA'S FATHER is lord of the castle; Allan and Lydia are honored guests, on his right. On Lydia's right sits a repulsive OLD MAN who leers at Lydia constantly. Lydia only has eyes for Allan. 

LYDIA (CONT'D IN V.O.)   
One year, Father held a feast in honor of our anniversary. 

The old man gives Lydia's father a wooden box. He opens it and presents Allan and Lydia with an ornate silver goblet for each. Allan's bears the same design as his signet ring. He shows the design to Lydia as someone comes to pour wine. In the confusion, Lydia gets Allan's goblet. 

LYDIA (CONT'D IN V.O.)   
Allan offered a toast to Father's health. 

As the two are about to drink, Lydia's Father suddenly stops them. Allan takes offense, until her father crosses their arms so that each holds the goblet for the other. They laugh and drink deeply, each from the cup he was originally given. 

LYDIA (CONT'D IN V.O.)   
And he immediately fell violently ill. 

Allan coughs, choking, and collapses back into his chair, bumping Lydia's arm. Lydia's Father catches her goblet as wine splashes onto the tablecloth. Lydia is concerned. The Old Man continues to drink, indifferent. Lydia's Father seems almost too anxious. The stain of the spilled wine eats into the tablecloth. 

Lydia and Allan are in a small bed chamber. Lydia sits on the edge of the bed, cradling Allan's head. He is pale, dying. His sword and dagger lie on a nearby table, with a tall candle giving light. 

LYDIA (CONT'D IN V.O.)   
Allan had been poisoned. He never awoke. 

The candle has burned low. She stands and wipes the tears from her eyes, wearing an expression of resolve and determination. She takes up Allan's dagger and leaves the room. 

LYDIA (CONT'D IN V.O.)   
I went to Father, expecting him to swear vengeance on our enemies. 

Lydia stands outside a slightly opened door. She reaches up to knock, but she stops. Her Father is talking to the Old Man on the other side of the door, but they can't see her. 

LYDIA (CONT'D IN V.O.)   
Instead, I heard him talking to one of his most repulsive colleagues. Without an heir, the alliance with Hartshorn would always have been be at risk. 

They whisper, laugh and drink conspiratorially. 

LYDIA (CONT'D IN V.O.)   
My own father had killed Allan to clear the way for a new union. My hand had already been promised to the other man. 

She is devastated. She reels as if struck by a physical blow. 

She runs back into the great hall, and, finding wine still in the poisoned goblet, drinks it down. She stabs the cushion on her father's chair where his heart would be, then slashes anything in sight and sweeps everything off the table as she falls onto the hay-covered floor. 

LYDIA (CONT'D IN V.O.)   
That was my first attempt at suicide. To this day I don't know why God gave me the miracle of resurrection. 

She stumbles as if she is drunk into the bed chamber where Allan's body lies, cold. Her fine clothing is torn and stained. She cannot understand what is happening. 

LYDIA (CONT'D IN V.O.)   
At the time I was so angry with Him. 

She holds the dagger in front of her face, then sets it against her wrist. 

DISSOLVE TO: 

INT. DUNCAN'S HOME NIGHT 

The two men listen as Lydia tells the story. She sits with her knees curled up to her chin, like a child. She still rubs the spot over her heart. None of them look at each other. 

LYDIA (CONT'D.)   
That same night I cut my wrists, and when that failed, I fell on Allan's sword. I was found the next morning with the sword still through my heart. 

She changes her tone, shaking off the past, breaking the tension. 

LYDIA (CONT'D.)   
Ironic isn't it? The fact that I wanted to die then has kept me alive all this time. 

METHOS   
You should have won that round in the game. 

DUNCAN   
What happened when they found you? 

LYDIA   
The priest called for Allan's last rites was Darius. He helped me escape and hid me in a convent, where I finally learned how precious life is.... 

There are times when a life should be given for a good cause, but it should never, ever be thrown away. 

** END OF ACT III  **

* * *

ACT IV 

EXT. DUNCAN'S HOME MORNING 

A car just like the one driven by Stalker #1 rolls by slowly. It stops within sight. 

INT. DUNCAN'S HOME MORNING 

Lydia is sleeping again. A hand gently covers her mouth. She jumps, but it is only Methos. He holds a finger to his lips to signal silence, then points to Duncan, still sleeping. She nods. He points to his watch and holds up five fingers. She nods again and quietly gets out of bed. He moves away. 

EXT. DUNCAN'S HOME MORNING 

Methos stands by the closed door, but doesn't seem to notice the car. He wears his coat, but no shirt. He also wears no shoes and shifts from one cold foot to the other. He checks his watch and then takes a few strides forward. He stops and cocks his head as if listening. There is a slight HUM. He takes a few more steps. Silence. He is satisfied with the conditions now. He turns and sprints back toward the door. 

INT. DUNCAN'S HOME MORNING 

Duncan is awakened by SENSING AN IMMORTAL and hearing the DOOR OPEN. Lydia, in bed with covers up to her chin, gasps. She felt it, too. Duncan is out of bed in a flash, sword drawn, shifting it from hand to hand to throw on his coat as he heads for the open door. 

EXT. DUNCAN'S HOME MORNING 

Duncan gets to the door and sees Methos running toward the car, sword drawn. The car begins to pull away. Methos looks back, sees Duncan, and points to his car. Duncan gets in the car and races toward Methos. 

DUNCAN   
(passing by)   
Stay with Lydia! 

Walking back, Methos hides his sword and shakes his head. Lydia stands at the door, fully dressed for church. Methos checks his watch. 

METHOS   
Too easy. 

EXT. PROTESTANT CHURCH DAY 

This is a modern church on a less busy street. Methos and Lydia enter. 

INT. PROTESTANT CHURCH DAY 

Lydia and Methos move to a pew before the service begins. Modern music plays. 

LYDIA   
How angry will Duncan be? 

METHOS   
That depends on whether I can keep your pretty head on your shoulders. 

LYDIA   
I'm sorry my asking you to champion me hurt him so. 

METHOS   
Lydia, you're fascinating. 

LYDIA   
What was her name? 

METHOS   
(not following her thought)   
Who's name? 

LYDIA   
Men who find me fascinating despite my vows usually fall into three categories. The first thinks I've kept my vows only because I haven't met him before. Not your style. 

METHOS   
No. 

LYDIA   
The second is highly religious and respects my self-discipline. 

Both shake their heads, "no." 

LYDIA (CONT'D.)   
That leaves the third. He's lost someone he loves, and he sees in me a woman who can empathize. 

She struck a nerve, but Methos doesn't answer. 

LYDIA (CONT'D)   
I'm sure it's happened before, but you've lost someone recently, haven't you? 

METHOS   
So, which of the three is MacLeod? 

LYDIA   
He's a special case. His calling is to protect the helpless: the fatherless, aliens, widows. Duncan can't for the life of him see past my physical weakness. But you're avoiding my question. 

METHOS   
Yes, I am. Any insights? 

LYDIA   
(taking his hand)   
There are two things we fear most when we lose someone. The first is that we won't be able to remember all the things we love about that person. 

METHOS   
And the second? 

LYDIA   
We won't be able to forget. 

They SENSE and then see Stalker #1 in the door of the sanctuary. He makes eye contact and then exits. 

METHOS   
Are you sure you want to do this as planned? 

LYDIA   
Certain. What about you? What happens if his mentor gets you instead of me? 

METHOS   
He'll probably cut off my head. 

Lydia is surprised and a bit confused by his answer. 

METHOS (CONT'D.)   
Just remember. We do what it takes to keep Mac out of it. Ready? 

LYDIA   
No, but I will be. 

She bows in prayer. 

EXT. CAR RENTAL AGENCY DAY 

Duncan follows the other car as it pulls into the agency lot and parks beside a limousine. Suspicious, Duncan blocks the drive, keeping his car running. The other DRIVER, a mortal about the same size and coloring as Stalker #1, steps out and walks back to Duncan's car. 

DRIVER   
You can't park here. 

Duncan looks at the man's wrists. No tattoos. The Driver sees Duncan's bare chest under his coat, then looks down at Duncan's bare feet. He begins to laugh. 

DRIVER (CONT'D)   
What a great joke! Your friend said he'd pay extra if you followed me all the way. Tell him he owes me! 

DUNCAN   
My friend? 

Duncan's car sputters, coughs, then dies. The gasoline gauge is on empty. Duncan hits the steering wheel. The Driver roars with laughter. 

DRIVER   
He really set you up! He's good! I may not take that bonus! 

DUNCAN   
Methos!! 

INT. PROTESTANT CHURCH DAY (CONTINUED) 

The offering plate comes by, and Lydia drops in a bundle in a handkerchief that sounds like COINS when it hits the plate. Methos winces and acts as if he wants to take it out, and he watches wistfully as the plate goes away. 

METHOS   
(whispering)   
Do you know what those Etruscan coins alone are worth? 

LYDIA   
(whispering)   
Yes. Do you know that this church has a wonderful outreach to the homeless? 

EXT. CAR RENTAL AGENCY DAY (CONTINUED) 

Duncan talks on a pay phone outside. The Driver is inside, laughing at him through the window. 

DUNCAN   
Dawson? MacLeod. What have you got? .... How did your system go down? ... Never mind; I can guess. Just get here with some money, and bring me some clothes.... Yes I said clothes, and shoes too.... And Joe, if you laugh, I swear I'll get even. 

EXT. ROTESTANT CHURCH AND ADJACENT STREETS DAY 

The service is over, and the congregation departs. Lydia and Methos leave the church. Methos is watchful. Lydia seems strangely calm. Methos looks back at the building. 

METHOS   
God has changed over the millennia. 

LYDIA   
Times change. Churches change. Even we change, but God is steadfast. 

METHOS   
Steadfast? So your God has a personality? 

LYDIA   
He certainly has a sense of humor. 

Methos gives her a quizzical glance. 

LYDIA (CONT'D)   
The one man who could tempt me thinks of me only as ...   
(crosses herself)   
a "sister." 

Methos nods, knowingly. 

They SENSE AN IMMORTAL. Stalker #1 is watching from across the street. Methos takes Lydia's arm and they walk more quickly. 

LYDIA   
Do you believe in God? 

METHOS   
(reaching for his sword)   
Sometimes I wish I could. 

LYDIA   
Why can't you? 

METHOS   
I've seen more religions come and go than you've had toothbrushes. 

LYDIA   
Maybe you've seen them from the wrong perspective. 

Methos looks down a side street as they pass it. Stalker #1 still follows. 

METHOS   
Maybe. Did you see the Inquisition? How's that for perspective? 

LYDIA   
I had a close-up view when I was excommunicated. 

METHOS   
For what? 

LYDIA   
Refusing the advances of an archbishop. 

METHOS   
And you still keep your vows to the church? 

LYDIA   
I keep my vows to God. Tell me, do you think I'd cut your throat in your sleep? 

METHOS   
No. Should I? 

LYDIA   
Someone claiming my name tried. 

METHOS   
But that wasn't you. 

LYDIA   
My point exactly. 

Methos releases Lydia's arm and steps aside into an alley, while Lydia continues down the street. As Stalker #1 passes the alley, Methos grabs him from behind, pulls him into the alley and holds a sword to his throat. 

METHOS   
I know who sent you. Now tell me why. 

Lydia comes back to the mouth of the alley as STALKER #2 pulls up in a car. He is large and wears black leather. He drags Lydia into the car and gets away. 

METHOS   
Damn! 

Methos runs STALKER #1 through (O.S.) and throws him in a dumpster. 

METHOS (CONT'D.)   
That'll teach you to stalk little old ladies. 

Duncan has been watching from his car up the street. He follows Stalker #2's car. Methos sees Duncan drive by. Methos looks upward, as if talking to God. 

METHOS (CONT'D.)   
If you're really in charge here, I wish you'd let me know! 

He pulls his small notebook from his pocket and checks something in it. 

METHOS (CONT'D.)   
You know I'm too old for this! 

He runs down the street. 

ESTABLISHING SHOT SECLUDED WAREHOUSE DAY 

INT. WAREHOUSE DAY 

A large outer room has a single door which opens into a cavernous interior room with high, filthy windows that give very little light. Stalker #2 leads Lydia into the inner room. She is calm and reserved. A shadowy male figure walks toward her. 

Stalker #2 leaves her and goes back to the outer room. Duncan arrives. 

DUNCAN   
(drawing his sword)   
I am Duncan MacLeod of the Clan MacLeod, and I've come for the Lady of Hartshorn. 

Stalker #2 draws his sword. They fight. Stalker #2 is quite good. As they move past the door, Duncan sees inside. The man is between Lydia and the door, his back to Duncan. The fight draws them away. 

Methos enters, winded from running. He leans on the inner door frame to catch his breath, looking in. 

DUNCAN   
(to Methos)   
Take care of Lydia! 

Methos watches Duncan and Stalker #2. Duncan gets the upper hand in his fight, and is about to behead Stalker #2. 

METHOS   
(to Duncan)   
Don't! 

DUNCAN   
(eviscerating Stalker #2 O.S.)   
You're right. It would take too long. 

Duncan moves to the door, where Methos reluctantly takes a defensive stance. 

DUNCAN   
What are you doing? 

METHOS   
Stopping you, I think. 

DUNCAN   
What kind of game is this? 

METHOS   
It's The Game, and you can't interfere. 

DUNCAN   
Watch me. 

Again, Duncan moves to go around Methos, and Methos shifts to stop him. 

DUNCAN   
Don't do this. 

METHOS   
Does anybody really stop when you say that? 

DUNCAN   
No, but I feel better about killing them. 

Duncan charges Methos, overshooting the door. As they fight, they move further away, then past the door again, but more distant. Their swords lock for a moment, their faces very close. Both look into the room. The man looms over Lydia, his sword high, ready to strike. Lydia kneels as if in prayer or begging for mercy. 

METHOS   
He won't take her head. He knows her. 

DUNCAN   
How do you know? 

Their fight continues. They pass Stalker #2, still dead on the floor. 

METHOS   
The same way I know you won't take mine. 

DUNCAN   
If he does, you'll be wrong on both counts. 

Duncan wounds Methos badly enough to get past him and sprints for the door. 

METHOS   
I knew this champion thing was a bad idea. Why don't I listen to myself anymore? 

Duncan gets almost to the door, when Lydia screams. 

LYDIA   
No! 

A man yells in Gaelic, and there is a SWISH and a THUD. Duncan stops cold. The lights and effects of THE QUICKENING can be seen and heard, but neither Duncan nor Methos moves. As some of the lightning fades, Methos recovers enough to rise. Stalker #2 begins to stir, but Methos stabs him again (O.S.) in an offhand way as he passes. 

DUNCAN   
(looking toward the door)   
He won't leave here alive, insane or not. 

Methos shakes his head, "no." 

DUNCAN (CONT'D)   
Then, I'll deal with you. 

The last of the power fades, and Duncan and Methos enter the room. 

LYDIA still kneels, as if at prayer. She is intact. There is a body at her feet, and the sword is in it's hand. DUNCAN recognizes the sword, then the man. 

DUNCAN   
Warren Cochran! 

DISSOLVE TO: 

FLASHBACK EPISODE #95418 "THROUGH A GLASS DARKLY" THE INN 

WARREN   
Andrew. He was like a son. 

DUNCAN   
And you killed him? You killed your own student? 

WARREN   
(tortured) I know! I know! I know! I know what you're thinking. That only a monster could do such a thing....Well, if I am a monster, then slay me. 

What thing on earth can be more evil than me, can be more deserving of death?   
(drawing his sword)   
You should have let me forget! 

He attacks Duncan, who defends himself, reluctantly. Duncan gets the upper hand and holds his sword, ready to take Warren's head. 

WARREN   
End it, MacLeod. End it now. 

DUNCAN   
I won't take your life. 

WARREN   
Please. I can't live with this. 

DUNCAN   
You're going to have to. 

DISSOLVE TO: 

INT. THE WAREHOUSE DAY (CONTINUED) 

DUNCAN   
He cut off his own head! How could he...? 

METHOS   
He would have taken yours if you'd come between them. 

LYDIA   
(crying)   
I failed him. I failed him, too. 

DUNCAN   
Lydia... 

He starts forward, but stops as she folds her hands and prays. 

LYDIA   
(begging for help)   
Father, all that I have, all that I am, is from You, and I return it all to You. 

An ethereal glow surrounds her. Then there is a sort of a QUICKENING IN REVERSE, as power flows out of her and upwards, exploding out of the high windows, opening them. 

LYDIA (CONT'D)   
(more calmly)   
From the one who has little, even what he has will be taken away. 

The quickening stops flowing upward. Lydia, still glowing, looks up at Duncan and Methos. She smiles a sad smile, like the portrait of a benevolent saint. She spreads her hands high, like a benediction. 

LYDIA (CONT'D.)   
To those who have much, even more will be given. 

BOLTS OF POWER fly from Lydia's hands into Duncan and Methos as if they had taken her head. The men are completely astonished. Lydia smiles serenely. 

When the Quickening ends, she still glows, now in the normal light of a shaft of sunshine falling on her through the high windows, like the light in a cathedral. 

** END OF ACT IV  **

* * *

EPILOGUE 

EXT. DUNCAN'S HOME DAY 

Methos and Joe come out of the door. Joe looks through Methos' little notebook. Methos carries a duffel bag to his car. The passenger's side of the car is nearest them. Joe turns the open notebook upside down, then on its side. 

JOE   
Will you at least tell me what language this is? 

As he speaks, Methos puts the duffel in the back seat and walks around to the driver's side. Duncan and Lydia come out. Duncan has her luggage. She carries her make-up case and wig. 

METHOS   
It wouldn't help. I can't explain that Quickening. 

LYDIA   
It has to do with my vow of poverty. 

JOE   
Poverty? 

DUNCAN   
What does our kind value above all else? 

JOE   
I don't know how to write this report. 

As they speak over the hood of the car, Joe hands the notebook to Methos, who gives him a computer disc. 

METHOS   
Just leave my name out of it. 

JOE   
Which name? 

METHOS   
All of them. 

Lydia gives Joe her make-up case and the wig. 

LYDIA   
Will you keep these for me? 

JOE   
I'll put them in the archives. 

DUNCAN   
You're not going back to the convent? 

She shakes her head "no." 

METHOS   
Speaking of which...the airport? 

LYDIA   
Almost ready. 

Duncan, I'm so sorry about your friend, Cochran. 

DUNCAN   
Me, too. 

LYDIA   
Will you be all right? 

DUNCAN   
I have no intention of following Cochran, if that's what you mean. 

She doesn't know what to say. She lightly touches his cheek, memorizing it. Duncan finds it hard to look at her. 

LYDIA   
Duncan, I need to tell you...I... 

DUNCAN   
(interrupting)   
You did what you could. 

She makes a quick decision and kisses him lightly on the cheek, an innocent good-bye kiss. Her next words sound final. 

LYDIA   
Go with God, Duncan MacLeod.   
Go with God. 

She is sad to leave him. Joe opens and closes the car door for her, then leans down to talk to her through the window. Duncan walks to the driver's side. 

LYDIA   
About that quickening, Joe...   
(watching Duncan)   
God makes sure I'm not burdened with temptations I can't bear. 

As he passes Methos, Duncan shoulders him aside without a word. Methos retreats a step. Duncan puts her cases in the back seat. 

JOE   
(trying to cheer her up)   
Hey, don't be too rough on your new Watcher. I hear you're his first field job. 

Lydia laughs quietly. Methos almost smiles. Duncan doesn't get it. 

LYDIA   
I'll try not to notice him all the time. 

DUNCAN   
You know him? 

Lydia is unsure how to answer- "yes, a little, maybe?" Joe makes a formal introduction. 

JOE   
Duncan MacLeod, you've met Adam Pierson, haven't you? 

Methos holds out his hand to Duncan, as if they didn't know each other. Duncan hesitates, then clasps Methos' arm. All is forgiven. Methos gets into the car. 

METHOS   
(to Lydia)   
I've had a taste for tapas lately. How about Spain? 

LYDIA   
Adam Pierson and I can't afford it. 

METHOS   
I know a boarding school that needs a Latin teacher, and Adam's rich uncle just died. 

JOE   
Again? How many rich uncles does he have? 

METHOS   
As many as I need. 

Duncan and Joe watch as Methos and Lydia drive away. 

JOE   
(to Duncan)   
Now that's an odd couple. 

DUNCAN   
(sarcastically)   
A match made in heaven. 

FADE OUT 

* * *

Previous 

© 1997-2000   
Please send comments to the author! 

04/07/1997 

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